Any musical instrument that produces sound in effect of causing the body to vibrate through air.…
In the 16th century, a secular style of music knowing as madrigal was raised suddenly and became the most prevalent genre that draw numerous of Italian composers’ attention. This style of music mainly, knowing as vocal music which only involved singing without any instruments accompaniment, focused on love by illustrating the emotion of the meaning of the words and the context of the poem through the use of word painting. Thomas Weelkes (1576-1623) was knowing as the most famous composer in participating of the madrigal, that he composed a great complexity piece well as knowing as As Vesta Was Descending in 1601. If the As Vesta Was Descending is playing on instruments rather than being sung it would sound as dedicate and vivid as being sung.…
Fig. 19: Melodies B in C# Aeolian sung by the choir in mm 88-99 of the song no. 2.…
In the overall analysis of the three pieces in terms of piano, guitar and orchestra versions, I have found that the three songs in various versions are different in some extent. That is to say, each piece has its distinguished feature with reference to sound, time, structure, melody, tempo, and harmony. To be more specific, the report will examine each song within its different versions only. Before I start analyzing the pieces, I would like to give a brief introduction about Albeniz’s work.…
an aria 2. a chorus 0% 3. madrigal 4. a recitative 5. motet Score: 0/1.92 6.…
Official music of the Roman Catholic Church. Monophonic melody set to sacred Latin text, Calm otherworldly quality. Represents voice of the church instead of individual. Flexible rhythm- improvisational character. Melodies tend to move by step in a narrow range. Named for Pope Gregory 1 (509-604)…
After presenting to the audience their first piece the choir moved on to sing “Hakuna Mungu Kama Wewe”. This is a sacred east African worship song that is written to be sung Acapella with SAB parts. The non-syncopated piece in the major mode gave a joyful feeling to the audience with its quick pace. Unlike their first piece the choirs voice seemed like one big sound without any breaks, they were in complete unison.…
Read the articles on page 64-66 on music in the cathedral, the Notre Dame Cathedral of Paris, the work of Perotinus and the Cathedral of Notre Dame of Reims. Continue through page 67 and be conversant about Guillaume de Machaut. Be aware that the Messe de Nostre Dame is significant because it is the first unified setting of the Ordinary of the Mass.…
The motif of religion is conveyed successfully by the composer in “The Third of May” through iconography of the crucified Christ, seen in the man in white and yellow, which are papal colours. Through iconography the composer manipulates the audience and creates the central meaning of the text that the sacrifice of life will not lead to salvation.…
In the final movement of the piece is when the soloist in mezzo-soprano sings her part in the Hebrew language (Chilsom, Kate Web). The tone of her voice at times intensifies as to show her sorrow and shame. The instrumental music becomes somber again, and the texture of the music seems to be in anguish, as the orchestra comes together in between the solo parts to emphasize the emotion.…
The aria is written in 3/8 time in the key of B Major, and consists of several similar musical phrases that repeat almost exactly in the second verse. The Duke has a tenor voice that is paired up with an orchestra. The higher tenor voice of the Duke and the main rhythmic cell, measures 11-12, gives the music a frivolous quality reminiscent of a dance. The lively tempo and frequent use of staccato notes reinforces that interpretation.…
Ave Verum Corpus is a hymn, originally sung in Catholic homes, referencing Jesus’ Last Supper. The piece has been arranged differently over many centuries – William Byrd in the Renaissance period, Edward Elgar in the Romantic period and Francis Poulenc in the 20th Century. The three ‘versions’ of Ave Verum Corpus have pivotal similarities and differences, showcasing the different styles of each composer. The most obvious similarity between all three adaptions is the text, a vital part of a Catholic worship service. The melodic shape of the pieces are very similar, with the melody building to important phrases such as ‘O Jesu, File Mariae’ (Oh Jesus, Son of Mary). The phrase reaches a climax point before receding away. The timbre remains the same throughout all three adaptions – SATB, except the Elgar has an organ/piano part. The texture is a key difference between the Byrd/Elgar and the Poulenc. Because Poulenc was writing in the 20th Century, the characteristics of the time were very different to Elgar and Byrd. Impressionism was encouraged so the layering of parts was very different. The range of dynamics used in the Poulenc is not subtle, like the Byrd and the Elgar. The Byrd had a mostly homophonic texture, with the occasional polyphonic writing and one section in canon. This is the ‘style’ of the Renaissance time, nothing that took away from the solemn worship people of the time were accustomed to. Whereas Poulenc wrote polyphonically, creating a jovial sense and a more lively piece (even though his adaptation is in a minor). The use of irregular phrasing of the overlapping melodies was featured in Poulenc. The text even overlaps with each other due to the question answer style between the Soprano 1 and Soprano 2 parts. The layering of the Elgar is similar to the Byrd, with sombre sustained chords in the organ part. Elgar begins with a single soprano line before the second verse ‘Ave Verum…
Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of spiritual music and the bestknown 16thcentury representative of the Roman School of musical composition. He has had a marvelous influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony. Palestrina's masses show how his compositional style developed over time. One of the symbols of Palestrina's music is that dissonances are typically credited to the "weak" beats in a measure.This produced a smoother and more consonant type of polyphony which we now consider late Renaissance music, given Palestrina's position as Europe's leading composer. In this piece, Sicut Cervus, Palestrina uses the smooth style of 16th century polyphony. It speaks of a deer longing for spring, a soul longing for you, and God. He had written three sections of music, with parts taken out then added in. Palestrina wrote this piece as the first part of a double motet.…
The first period of the piece lasts from measures 3-15 and contains two phrases. The piece starts in E major and modulates to B…
Palestrina is considered to be the “Savior of Church Music”. After the death of Pope Julius III in 1555, Pope Marcelli’s reigned for about three weeks, in which he attempted ban polyphonic treatment of text in sacred music, stating that the words should be intelligible to the listener. So, Palestrina wrote Missa Papae Marcelli to persuade him that the style of music should remain unchanged. SLIDE #4: Play Pope Marcellus Mass https://www.youtube.com/watch?v=5wVaD2_RmO8…